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Newspaper Articles

Zimbabwe Independent

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3 June, Mukaro, A “Retributive Hand seen in Police Blitz”.

28 October, Chiriga, E. “Gono’s Inflation, BOP Targets Unattainable: Economists.”

Sunday News

23 March, 1993, page 6, Hatugari, L, “Live music: If it's foreign they will love it”

07 January, 2007 page 2, Gyrating on the gospel dance floor ungodly?

15 April, 2007, page 1, Ndebele L “Sungura: A mixed brand of Music”.

The Standard

26 March 2005, Chimhete, C. “90% of Workforce living in poverty.”

Financial Gazette

16-22 June, Saburi, H. “Dawn of New Era? Destruction of Informal Sector seen as

creating more Economic Rubble”

Sunday Mail

26 September, 2004, page E6, “Gay Lundi fired”

6 November, 2005, Mukondiwa, R “ Charambas go back to their roots”

4 June, 2006, page 6, Jeffrey, R “Charambas shape nation’s character: Their

music helps mend relations, foster families”

The Chronicle

29 October, 2005, Mapanzure, “Mashakada takes issue with recording company”

23 September, 2006, “Juru thrives in Controversy”

2 February, 2007, Jeremai, D “Revonia stops work on album”

The Daily News

3 June, 1999, Guchu, W “Gospel Music a Financial Bonanza in Hard Times,”

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The Manica Post

6 May, 2005, page 4, “Gospel outfit, promoter clash”

4 December, 2005, page 5, “No ‘explosion’ at Ngaavonwe”

3 April, 2006, page 7,Sifikile, V “Gospel singers duped”

14 April, 2006, page 8, “Group introduces gospel- reggae”

14 January, 2007, “Letwin Berebende…All music belongs to God”

20 January, 2007, “Women urged to take up challenge”

The People’s Voice

6 February, 2006, page 3, “Mutsvene admits copying Malope”

The Herald

21 January, 1983, page 2, “Religious singer making a return”

08 March, 1987, page 12, “Veteran Jordan bows down to his daughter’s wish”

12 April, 2004, Tonhodzai, B “Fungisayi wows crowd”

06 May, 2004, page 4, “Haisa accused of threatening ex-wife”

15 September, 2004, page, 8, “Haisa thrown into prison”

3 October, 2004, page 5, “Charamba further remanded”

09 May, 2005, page 2, “Haisa in trouble”

18 August, 2005, page 6, “Bishop attacks gospel artists”

31 January, 2006, page 5, Guchu, W “Modern, yesteryear gospel artistes differ in

depth of beliefs”

31 March, 2006, page 6, “Simeti assumes counsellor’s role”

8 April, 2006, page 7, “Star of the Week with Jonathan Mbiriyamveke”

11 April, 2006, page 6, Guchu, W “Chiyedza Chavatendi crawling out of the

woods’

15 June, page 8, Shumba, G “Manatsa album hits streets… and defends return to

secular music”

3 July, 2006, page 4, Mazuruse, T “Rocqui releases gospel scorcher”

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24 July, 2006, Guchu, W “Revolutionary Amai Charamba’s new album”

24 August, 2006, page 4, Guchu, W “Gospel groups should be creative”

27 November, 2006, page 6, “No to unholy dances by gospel musicians-

Manyeruke”

20 December 2006, page 7, “I’m not after fame: Patai”

8 January, 2007, Tera, R “Zim trip an eye opener: New Sounds for Christ”

9 January, 2007, page 7, “Vabati VaJehova set record”

19 February, 2007, page 6, “gospel diva releases rhumba album”

2 March, 2007, page 6, “Gospel jazz show- first of its kind”

9 March, 2007, page 7, “Gramma releases gospel collection DVD”

12 April, 2007, page 7, “Mutsvene, backing group in payment row”

18 April, 2007, page 5, “Payment dispute was resolved”

25 April, 2007, Chirova, M “Knox switches to gospel music”

The Mirror

30 August, 2004, Khosa, T “Controversy haunts gospel artists”

27 May 2006, page 5, Shumba, E “New gospel group is borne”

6 June, 2006, page 6, Shumba, E “Bethany Sisters’ great commission”

25 June, 2006, page 7, Chiweshe, L “Gospel music’s remarkable ascension”

7 January, 2007, page 5, Muzari, G “Gyrating on the gospel dance floor

ungodly?”

The Insider

9 February, 2004, page 1, Rukuni C. “Zimbabwean Bishop takes the gospel to the

West”.

Electronic media

faithstreams network.com

ZimdiTV.com/Newzimbabwe.com. (2007)

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APPENDIX I: LIST OF INTERVIEWEES

LIST OF CHURCH LEADERS WHO WERE INTERVIEWED

NAME PLACE DATE

1. Pastor Amina Masvingo 22/01/08

2. Pastor Mhlanga Masvingo 22/01/08

3. Pastor Ndoni Masvingo 22/01/08

4. Pastor Mpofu Harare 24/01/06

5. Pastor Gwara Gweru 20/01/08

6. Pastor Pinjisi Harare 24/01/05

7. Rev Zowa Harare 24/01/08

8. Reverend Zhanero Mutare 26/01/08

9. Reverend Matemani Mutare 26/01/08

10. Reverend Ncube Bulawayo 15/12/07

11. Reverend Ndhlovu Victoria falls 19/12/07

12. Reverend Duve Hwange 19/12/07

13. Reverend Chabva Kwekwe 19/01/08

14. Reverend Mutisi Kadoma 19/01/08

15. Reverend Vhenyasi Chinhoyi 25/01/08

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APPENDIX II: LIST OF MEMBERS OF THE PUBLIC WHO WERE

INTERVIEWED

NAME PLACE DATE

1. Mr. Calisto Chimoi Masvingo 22/01/08

2. Mr. Peter Chikwama Chinhoyi 25/01/08

3. Mr. Farai Muzondo Kadoma 19/01/08

4. Mr. George Mukungwa Gweru 20/01/08

5. Mr. Conrad Magadzire Masvingo 22/01/08

6. Mr. Godwin Makaudze Harare 24/01/08

7. Mr. Mathias Bangure Harare 24/01/08

8. Ms. Grace Mtema Zvishavane 18/01/08

9. Ms. Rudo Masimo Mutare 26/01/08

10.Ms. Melody Zambuko Kwekwe 19/01/08

11.Ms. Eve Maposa Mutare 26/01/08

12.Ms. Bridget Mukaka Bulawayo 15/12/07

13. Ms. Helen Ncube Bulawayo 15/12/07

14.Ms. Thandekile Kamwendo Victoria Falla 19/12/07

15.Ms Zvinake Tauyanago Bindura 27/01/08

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APPENDIX III: LIST OF MUSICIANS WHO WERE INTERVIEWED

NAME PLACE DATE

1. Factor Harare 24/01/08

2. Cephas Mashakada Chitungwiza 28/01/08

3. David Kasomali Gweru 20/01/08

4. Taurai Zhou Masvingo 22/01/08

5. Taurai Nzira Kwekwe 19/01/08

6. Oliver Mtukudzi Norton 27/12/07

7. Canaan Kamoyo Harare 24/01/08

8. Diva Mafunga Chitungwiza 28/01/08

9. Tariro Mhonde Chinhoyi 25/01/08

10. Leonard Zhakata Harare 24/01/08

11. Tracy Hadzizi Bulawayo 15/12/07

12. Carol Mujokoro Harare 24/01/08

13. Donnah Chibaya Chitungwiza 28/01/08

14. Fungisai Zvakavapano Harare 30/01/08

15. Helen Mashamba Kadoma 19/01/08

16. Ruvimbo Nganga Masvingo 22/01/08

17. Jane Sanudi Bindura 27/01/08

18. Tracy Pfumai Harare 30/01/08

19. Mercy Mutsvene Harare 30/01/08

20. Shingisai Siluma Harare 30/01/08

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APPENDIX IV: INTERVIEW SCHEDULE FOR GOSPEL MUSICIANS

1. What led you to be a gospel musician?

2. How many members make up your band? Of these how many are male or

female and what are their roles in the band?

3. Which recording studio do you prefer and why?

4. What are your views on the commercialisation of gospel music in

Zimbabwe?

5. Looking at gospel music since 1980, what do you think are the major

changes that have occurred in terms of theme, form, musical style and

instrumentation?

6. What do you think is more important in gospel music between song text

and the musical style?

7. Whom do you think is more successful as a preacher between the gospel

singers and pulpit practitioners in Zimbabwe?

8. As a gospel artist, how do you reach out to your target group?

9. As a gospel musician are you more inclined to worship songs or praise

songs?

10. How has your music and other musicians responded to the socio-economic

and political situation is Zimbabwe?

11. As a gospel musician to what extent has your music accommodated

indigenous influences in terms of message and instruments?

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12. What aspects of your music do you consider to have been derived from

exotic influences?

13. Do you consider the instruments that you use to be of any symbolic and

material significance to your music?

14. Which musical instruments do you play in your band?

15. Do you consider Zimbabwean gospel music to be dominated by any one of

the sexes?

16. How are males and females portrayed in gospel song themes, in the print

and electronic media as well as by the public?

17. Do you have any misgivings about your music being played in beer- halls

or other places that are not acceptable to certain Christian denominations?

18. Are Zimbabwean gospel musicians torchbearers of the faith they claim to

preach?

19. How have gospel musicians in Zimbabwe handled topical issues like

HIV/AIDS, child abuse, poverty and violence?

20. Do you believe that Zimbabwean gospel music is a distinct genre?

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APPENDIX V: INTERVIEW SCHEDULE FOR CHURCH LEADERS

1. As a church leader, what type (style) of gospel music do you encourage in

your church?

2. What do you think is more important in gospel music between song text

and the musical style?

3. What are your views on the commercialisation of gospel music in

Zimbabwe?

4. In your view what are the Zimbabwean gospel thematic frames that are

being handled by local artists today?

5. How useful do you think Zimbabwean gospel musicians are in preaching

the gospel?

6. Whom do you think is more effective as a preacher between the gospel

singers and pulpit practitioners in Zimbabwe?

7. What are your views on the use of musical instruments and dances in

gospel music in your church?

8. What is your attitude towards acculturation in Zimbabwean gospel music?

9. What has been the impact of sexual and financial scandals by gospel

musicians on the Christian church?

10. What are your views on Zimbabwean gospel musicians singing about

political, social or economic issues that are affecting the country?

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APPENDIX VI: INTERVIEW SCHEDULE FOR CHURCH MEMBERS

1. As a listener of gospel music are you more concerned about music, the

sound itself or about the song text? Give reasons

2. What are your views on the commercialization of gospel music in

Zimbabwe?

3. Who is your favorite local gospel musician and why?

4. Who is your worst Zimbabwean gospel artist and why?

5. Do you think that Zimbabwean gospel musicians are successfully reaching

out to the ‘lost’?

6. Whom do you think is more successful as a gospel preacher between the

gospel singers and pulpit practitioners in Zimbabwe?

7. What are your views on the use of musical instruments and dances in

gospel music in Zimbabwe?

8. Looking at gospel music since 1980, what do you think are the major

changes that have occurred in terms of theme, form, musical style and

instrumentation?

9. What are your views on Zimbabwean gospel musicians singing about

political, social or economic issues that are affecting the country?

10. How has gospel music responded to the socio-economic and political

situation is Zimbabwe?

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11. What are your attitudes towards indigenous Zimbabwean practices being

factored into gospel music?

12. What do you think about the proportion of male to female gospel

musicians in Zimbabwe?

13. How are males and females portrayed in Zimbabwean gospel music?

14. Are Zimbabwean gospel musicians torchbearers of the faith they claim to

preach?

15. How do you think gospel musicians in Zimbabwe have handled topical

issues like HIV/AIDS, child abuse, poverty and violence?

16. What do you think local musicians should do in order to be more effective

as musicians and preachers?

17. Which musical style do you think is the most popular in Zimbabwean

gospel music?

18. What do you think is the most appropriate musical style to be used in

Zimbabwean gospel music and why?

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APPENDIX VII- OBSERVATION SCHEDULE

DATE:----------------------------------------------------

TIME:----------------------------------------------------

VENUE:-----------------------------------------

SPONSOR OF SHOW:-----------------------------------

PERFORMING ARTIST (S)------------------------------------------------------

Behaviour Observation Notes on critical

incidents/ observation

Talk

Singing

Type of musical style- local/

foreign

Actions

Dance

Instrument playing

Number of performers

Instrument players (gender)

Number of male performers

Number of female

performers

Type of audience- age/

culture

Response from audience

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APPENDIX VIII: GLOSSARY OF TERMS

Jiti: it is a popular Zimbabwean dance music that has a swift rhythm played on

drums.

Kwaito: a type of hip-hop music that emerged in South Africa but is now popular

in most Sothern African countries.

Kwasa-kwasa: refers to a dance rhythm from Congo (DRC), where the hips move

back and forth while the hands move to follow the hip movement.

Mbira: A pitched/tuned African instrument with metal keys that are plucked to

produce sound. The instrument is played during spiritual rituals.

Mbuya: Generally refers to grandmother but in this study it is a title given to a

female spirit medium.

Rhumba: it is syncopated music in duple time and its dance features complex

footwork and violent movement around the waist

Sekuru: Generally refers to grandfather but in this study it is a title given to a

male spirit medium.

Sungura: it is some kind of rhumba that does not however feature violent

movements/ mild form of rhumba.

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APPENDIX IX: RESEARCH AUTHORISATION LETTER

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APPENDIX X: APPLICATION FOR ETHICAL CLEARANCE

UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES

Research Proposal and Ethics Committee

APPLICATION FOR ETHICAL CLEARANCE

PLEASE NOTE :

1. An application is only approved if all the required documentation is provided. See 3.5, 3.7, 3.8 and 4 below.

2. An application is only considered once approval is granted by the Departmental Research Committee.

Please type or print legibly with black pen

FIRST APPLICATION : Yes b RESUBMISSION: Yes □

Name: Gwekwerere Gadziro Student Number: 28457626

Address : P. O Box 1067

Masvingo

ZIMBABWE

University Department : DEPARTMENT OF MUSIC...

Study leader / Supervisor / Promoter : PROF MEKI NZEWI

Professional status (if not a student): MUSIC LECTURER (GREAT ZIMBABWE

UNIVERSITY).

Telephone : + 263- 39- 252043 Cell phone : + 263- 912 304 972

Fax: + 263 39- 253504 E-mail: gadzrukuni@yahoo.co.uk

TITLE OF RESEARCH PROJECT: THE EVOLUTION OF ZIMBABWEAN GOSPEL MUSIC 1980- 2007 PURPOSE OF THE RESEARCH:

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Undergraduate □ Graduate □ Degree: DOCTORATE IN MUSIC

Not for degree purposes □

ANTICIPATED FUNDING SOURCE (if any):

N/A

ESTIMATED DURATION OF THE PROJECT:

From 2007 to 2009

1. OBJECTIVES OF THE RESEARCH - Please list a) Track prevailing local and global circumstances that shape the evolution of gospel music in Zimbabwe b)To fill in the gap in knowledge on Zimbabwean gospel music, gender relations and the socio-political situations 2. SUMMARY OF THE RESEARCH

Please provide a brief overview of the planned research (maximum 250 - 300 words) The study will focus on electronically recorded gospel music, which might not be in written (notated) form. The study begins with an overview, which discusses the concept and genesis of gospel music in general as a backcloth for surveying the main male and female gospel musicians in Zimbabwe during the period under study. The study explores indigenous and exotic musical styles that have influenced Zimbabwean gospel music. Gender is a topical issue in the contemporary global development discourse and the way it affects the development of gospel music in Zimbabwe shall receive considerable attention. The portrayal of women and men in gospel music themes will receive attention. The study also focuses on the political and socio- economic factors in the development of gospel music in Zimbabwe. It examines the political developments in Zimbabwe since independence, for example, political violence and the way they have impacted gospel music. Another important factor that the study concentrates on is the socio- economic environment in Zimbabwe and related issues such as HIV/AIDS, poverty and unemployment. Fieldwork and participant observation of gospel music shows will form the bulk of methodology and song texts will also be analysed. Selected gospel artists and church leaders will be interviewed. The study will make conclusions based on the research findings largely in a qualitative manner since it is not possible to quantify attitudes, beliefs and values.

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3. SUBJECTS' PARTICIPATION Please go to 3.9 if not applicable

3.1 Where and how are subjects selected? Subjects will be selected from among Zimbabwean citizens at local churches within. Stratified sampling will be used for musicians and random sampling for church leaders and members of the Christian community. 3.2 If subjects are asked to volunteer, who are being asked to volunteer and

how are they selected? Church goers will be asked to volunteer and stratified sampling according to

gender will be used. 3.3 How are subjects persuaded to participate? Through explaining the importance of the study and the acknowledgement of their contributions in the thesis.

3.3.1 Has any form of inducement been applied in recruiting subjects? No. 3.4 If records are to be used, specify the nature of these records and indicate how they will be selected. Song texts will be used and these are selected according to song themes and

artists 3.5 Has permission been obtained to study and report on these records?

Yes □ No □ Not applicable b- If Yes, letters must be attached 3.6 Characteristics of subjects:

Number: 50 Gender: Female 25 Male 25 Age range: 18- 75.

3.7 Has permission of relevant authorities (e.g. school, hospital, clinic) been

obtained?

Yes □ No b Not applicable □ - If Yes, letters must be attached

Have to seek permission from the concerned churches 3.8 Indicate data collection methods to be carried out with subjects to obtain

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data required by marking the applicable box(es):

b Record review

b Interview schedule (Attach if available. If not, submit at a later stage, together with

initial approval of Ethics Committee)

b Questionnaire (Attach if available. If not, submit at a later stage, together with initial approval of Ethics Committee)

□ Clinical assessment (e.g. tests)

□ Procedures (e.g. therapy). Please describe

b Other Participant observation 3.9 If specific evaluation/assessment and treatment procedures are to be used,

is the researcher registered to carry out such procedures? N/A 3.10 If the researcher will not personally carry out the procedure, state name

and position of person who will. N/A 4. INFORMED CONSENT - Attach copy of consent form(s) 4.1 If subjects are under 18, or mentally and/or legally incompetent to consent

to participation, how is their assent obtained and from whom is proxy consent obtained?

Please specify. N/A 4.2 If subjects are under 18, or mentally or legally incompetent, how will it be

made clear to the subjects that they may withdraw from the study at any time? Please specify.

N/A 4.3 If the researcher is not competent in the mother tongue of the subjects,

how will full comprehension of the content of the consent form by the

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subjects be ensured? Please specify. N/A 5. RISKS AND POSSIBLE DISADVANTAGES TO THE SUBJECTS 5.1 Do subjects risk any potential harm (e.g. physical, psychological, legal,

social) by participating in the research?

No b Yes □ If Yes, answer 5.2 5.2 What safeguards will be taken to reduce the risks? Please specify N/A 5.3 Will participation or non-participation disadvantage the subjects in any way?

No b Yes □ If Yes, explain 6. DECEPTION OF SUBJECTS

Are there any aspects of the research about which the subjects are not to be informed?

No b Yes □ If Yes, please justify 7. BENEFITS TO THE SUBJECTS

Will participation benefit the subjects?

No □ Yes b If Yes, please describe briefly Subjects end up being critical thinkers on the phenomena under study and

may even refocus. 8. CONFIDENTIALITY

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How are confidentiality and/or anonymity to be assured? Please describe

Subjects will not write their names on questionnaires and the researcher will also not divulge names on the subjects in the write- up. 9. DISSEMINATION OF RESEARCH RESULTS 9.1 To whom will results be made available? To University of Pretoria- Faculty of Humanities and Department and Music 9.2 In which format do you expect results to be made available?

Please mark those applicable:

□ book □ scientific article □ lay article

□ conference papers □ TV □ radio

b Doctorate Thesis

10. STORAGE OF RESEARCH DATA 10.1 Will research data be destroyed at the end of the study?

Yes b No □ 10.2 If No, where, in what format and for how long will the data be stored? Please specify N/A 10.3 For what uses will data be stored? Please mark those applicable:

bresearch □ demonstration

□ public performance

□ archiving 10.4 How will subjects' permission for further use of the data be obtained?

b Informed consent form □ Other please specify

10.5 Have the above issues been addressed in the letter of informed consent?

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□ Yes

□ No N/A

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APPENDIX XI: MAP OF ZIMBABWE

1. Bulawayo (City) 2. Harare (City) 3. Manicaland Province 4. Mashonaland Central Province 5. Mashonaland East Province 6. Mashonaland West Province 7. Masvingo Province 8. Matebeleland Province 9. Matebeleland South Province 10. Midlands Province

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APPENDIX XII: TRANSCRIBED ZIMBABWEAN GOSPEL SONGS

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